Controlled harmonization for musical instruments



1966 J. c. COOKERLY ET AL 3,283,056

CONTROLLED HARMONIZATION FOR MUSICAL INSTRUMENTS Filed Feb. 8, 1962 2Sheets-Sheet 1 LEFT HAND MANUAL RIGHT HAND MANUAL mmin .%.mmmm

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INVENTORS JACK C. COOKERLY GEoRGE R. HALL fig/1W ATTORNEYS INVENTORSJACK c. COOKERLY GEORGE R. HALL ATTORN S 2 Sheets-Sheet 2 ZZZoZ 9 %%wFIG. I

J. c. COOKERLY ET AL CONTROLLED HARMONIZATION FOR MUSICAL INSTRUMENTSFiled Feb. 8, 1962 FIG. 4-

Nov. 1, 1966 United States Patent ware Filed Feb. 8, 1962, Ser. No.171,905 16 Claims. (31. 84---1.tl1)

This invention relates generally to music and more particularly to anovel means for controlling or filling-in harmonization while playing amusical instrument.

Many musical instruments such as organs, pianos, accordions, and thelike include both left and right hand manuals or at least tones or notesincluding both bass and treble clefs. In playing such an instrument,chords are conventionally formed with the left hand on the left handportion of the manual or on an actual manual designed for the left hand,and the melody tone or note played with the right hand on the trebleportion of the manual or on a separate right hand manual.

The sound resulting from the foregoing can be greatly enhanced if actualchords are played along with the melody tone or note by the right hand.Towards this end, skilled musicians will oftentimes complement the righthand melody note by filling-in or adding further notes corresponding tothose played in the chord of the left hand. This technique usuallyrequires a considerable degree of skill, particularly if the melody notechanges rapidly over given measures during which the same left handchord is held.

With the foregoing in mind, it is a primary object of the presentinvention to provide a novel means for providing filled-in right handchords as though the same were actually played with the right handcorresponding to the chords played with the left hand simultaneouslywith the sounding of the melody note, even though the musician depressesonly a single note with his right hand, to the end that a fuller musicalrendition results.

More particularly, it is an object of this invention to provide anautomatic means for effectively readying or placing in ready condition aplurality of treble notes corresponding to bass notes sounded in a lefthand chord so that the conditioned notes will automatically soundwhenever a single melody note to be played with the chord is sounded,all in a completely automatic manner with the result that playing of aninstrument incorporating left and right hand manuals is considerablysimplified.

Another object of the invention is to achieve the foregoing objectswithout introducing any disharmonies.

Briefly, these and many other objects and advantages of this inventionare attained by incorporating in a musical instrument a first meansresponsive to the selection of bass notes by the left hand for partiallycompleting the coupling or keying circuits of harmonically related oroctavely related treble signal sources or notes to be played. Thesepartially completed circuits or notes are not actually played when aperson depresses the keys by the left hand but are merely placed in aready condition.

There is then provided second means responsive to the playing of asingle note by the right hand to play automatically conditioned notessimultaneously therewith. When the left hand chord is changed, theconditioned treble notes are correspondingly changed so that when themelody note corresponding to the changed chord is ICC sounded, thechanged treble notes will similarly be sounded. There is thus provided acontrolled harmonization in a completely automatic manner, the musicianbeing required only to play a single melody note with his right hand andyet providing musical sounds exactly the same as though full chords hadbeen played with the right hand simultaneously with those played by theleft hand.

A better' understanding of the invention as well as various furtherfeatures and advantages thereof will be had by referring to theaccompanying drawings illustrating one embodiment thereof, wherein:

FIGURES l and 2 show together in schematic form bass and treble tonegenerators operable by suitable manuals incorporated within arepresentative musical instrument in which the present invention findsutility;

FIGURE 3 illustrates the manner in which FIGURES 1 and 2 should beplaced in side-by-side relationship to enable proper presentation of themanuals;

FIGURE 4 is an enlarged fragmentary view of a portion of a switch meansincorporated within the circular arrow 4 of FIGURE 2; and,

FIGURE 5 is an enlarged fragmentary view of another portion of theswitch means enclosed within the circular arrow 5 of FIGURE 1.

Referring to FIGURES 1 and 2, placed together as illustrated in FIGURE3, there is shown a plurality of individual signal sources such as tonegenerators, each being marked by the notes C, C#, D, D#, E, F, F#, G, A!A#I B1 Cl! C#!! DI! D#/! E, Fl! F#II, G, and G#. It is to be understoodthat the showing represents only a portion of the bass and treble notesof the instrument, there being no limit on the number of individual tonegenerators. It will be noted that notes octavely spaced from the othercorresponding notes are provided with primes or double primes, therebeing represented notes on either side of middle C and high C. Sinceoctave notes have frequencies constituting whole integer multiples ofthe bass notes, other signal sources such as frequency doublers ordividers may be substituted for some of the upper or lower tonegenerators, respectively.

Associated with each of the tone generators is a first switch meanscomprising a plurality of individual solo and accompaniment switchesnumber L33 consecutively. Each of these switches is arranged to beindividually connected to a common line 34 in turn connecting to anoutput line p shown in the lower portion of FIGURES l and 2. The outputline p connects to a translating system or output means including anoutput amplifier 35 and output loud speaker 36 for sounding any one ofthe individual tones from the corresponding tone generator when one ofthe corresponding switches 133 is closed. Closing of the switches in thefirst switch means is effected whenever the musician depresses a key onthe manual corresponding to the particular note he desires to play.

Also connected to each of the tone generators, respectively, in parallelwith the switches 1-33, are switches 1m through 33111 constituting asecond switch means. Each of these switches is respectively ganged foroperation in response to operation of the correspondingly numbered firstswitch in the first switch means. For example, the switch 1m is gangedfor operation by the switch 1 as indicated by the dash-dot line 37. Inother words, whenever one of the switches 1-33 is closed, thecorresponding 3 parallel switch 1m-33m will also be closed. Thecorresponding ganging connections for the other switches are not shownto avoid obscuring the drawing.

As shown in FIGURES 1 and 2, the second switch means including theswitches in the group 1m-33m spaced an octave apart are ganged together.Thus, the switch 1m connected to the tone generator for lower C isganged to the switch 13m connected to the tone generator for C or middleC as shown in FIGURE 1. Similarly, the switch 2m connected to the tonegenerator for lower C# is ganged to operate simultaneously the switch14m connected to the tone generator for C#. The ganging connections aredesignated 38. It should be noted that the same ganged connections willconnect the switch 13m to the switch 25m corresponding to high C or thetone generator for C". Similarly, the other octavely spaced switches areganged together for simultaneous operation.

With the foregoing arrangement, it will be evident that any particularnote played by accompaniment keys on the left hand manual or in the basswill cause simultaneous closure of one of the switches, for example1m12m, closing of this latter switch in turn closing all of the switchesspaced an octave away in the right hand, solo or treble manual. In theparticular example shown in FIGURES 1 and 2, the switches 1 and 1m areshown closed in view of the ganging connection 37, the switches 5 and 5mare shown closed and the switches 8 and 8m are shown closed. Theseswitches correspond to the notes C, E, and G constituting the C majortriad chord played with the left hand on accompaniment keys. This Cchord will be sounded through the switch connections 1, 5, and 8connecting to the common output line 34 and thence to the output line p.The closing of the switches 1m, 5m and 8m simultaneously will causeclosing of the switches 13m, 17 m, and 20m and the switches 25m, 29m,and 32m as shown in FIG- URE 2. Closing of these latter switches,however, merely places certain tone generators for the octavely spacedC, E, and G notes in a ready or given condition to be played through theoutput. However, in the absence of further operations, the solo notes inthe treble manual closed by the latter mentioned switches will not besounded.

Connected to the various vertical lines including the switches 1m-33m isa bus line It. This bus line includes a third switch means in the formof a plurality of series connected pairs of switches. The vertical linesfrom the switches 1m33m connected between the various pairs; the twoswitches in each pair are in turn connected in series.

As a specific example, the pair of switches in FIGURE 4 comprise a firstswitch 25n and a second switch 25p. The first switch is a single pole,single throw switch, and the second switch is a single pole, doublethrow switch. Each of the second switches in each of the pairs whenoperated are arranged to connect to the output line p by way of thevertical conductors as illustrated in FIGURES l and 2. Each of the firstswitches when operated will simply open the bus line 11.

As is evident from FIGURES 1 and 2 taken together, the first switches ineach of the pairs are ganged to the second switches in other pairsspaced a plurality of pairs away. For example, the first switch in thepair of switches enclosed within the circular arrow 4 of FIGURE 2 isganged to the second switch of the air enclosed within the circulararrow 5 of FIGURE 1. This second switch is designated 13p in FIGURE 5,the ganging connection being indicated by the dashed line 39. The numberof pairs between the pairs of switches 2511 and 25p and 13m and 13prepresent a given portion of the bus line It. The first switch 2511delineates or determines the upper limit of this given portion of thebus line and the second switch 13p in the other pair shown in FIGURE 1delineates or determines the lower limit.

In addition, each of the first switches in each pair of the right and,solo manual or treble portion of the bus line 11 is respectively gangedfor operation in response to operation of the note positioned two halftones above the note of the tone generator connected adjacent theparticular pair in question. Thus, the first switch 25n, for example, isganged as indicated by the dash-dot line 40 for simultaneous operationby the switch 25. The switch 25 connects the tone generator for the toneC" whereas the first switch 25n is connected to the tone generator A# ortwo half tones lower than C when the switch 23m is closed. The reasonfor having the individual switches in the treble portion of the manualganged to corresponding first switches in the various pairs, positionedtwo half tones therebelow will become clearer as the descriptionproceeds.

With particular reference to FIGURE 5, it will be evident that when theswitch 13p is operated as shown to engage one of the vertical linesconnecting to the output line p, all of the tone generators connected tothe bus line n to the right of switch 13p will be connected to theoutput line p up to the switch 25n illustrated in FIGURE 4. Thus, withthe switches in the particular positions shown in FIGURES 1 and 2, thetone generators C, E, and G will connect through the switches 13m, 17m,and 20m and the series connected pairs of switches in the bus line It tothe switch 13p and thence to the output line p. The tone generators C",E", and G" connected to the bus line through the closed switches 25m,29m, and 32m, respectively, however, will not be connected to the outputline p because of the opening of the switch 25n illustrated in FIGURE 4which isolates the remaining right hand portion of the bus line from theoutput.

From the foregoing description, it will be clear that any chord playedwith the left hand accompaniment in the left hand manual will effectclosing of corresponding individual switches within the group 1-13. Itwill also be evident that closing of these switches will effect closingof corresponding ganged switches within the group 1m-12m as alreadydescribed and thereby effect simultaneous closing of the switchesdisposed octaves apart from the switches closed.

Assuming that the C chord is played with the left hand to close theswitches as shown in FIGURES 1 and 2, if the melody note to be playedwith the C chord happens to be high C in the treble or right handmanual, the playing of this single high C note will result in closing ofthe switch 25 as illustrated in solid lines in FIGURE 2 so that thisnote C" will sound through the common line 34 and the output amplifier35 and speaker 36. Closing of the switch 25 will also, through theganging connection 40, effect operation of the first switch in the pairlocated two half tones downwardly from the note C" as described inconjunction with FIGURE 4. Operation of this first switch opens up thebus line It to isolate the right hand side of the manual as alsodescribed heretofore.

Simultaneous with the operation of the switch 2521, there will beoperated the switch 13p shown in FIGURE 5 through the ganging connection39 as described heretofore so that the portion of the bus line n betweenthe switches 13p and 25m will be connected to the output line {7 throughthe series connected switches. Thus, it will be immediately evident thatwith the single high C note sounded, there will simultaneously besounded automatically the notes G, E, and C through the readied switches20m, 17m, and 13m.

Similarly, if a melody note other than C" had been played, for exampleE, the various notes in the treble portion of the manual correspondingto the chord notes played by the left hand encompassed within the rangeD to D would be sounded.

If a plurality of spaced melody or solo keys are depressedsimultaneously, such as C" and G", the lower switch (corresponding to13p) actuated by the G key Wlll interrupt or break that isolated portionof the bus bar defined by the depression of the C" key, and reconnectthe broken-01f portion to the output or collector p. However, the busbar portion normally isolated or defined by actuation of only the G" keyis broken or interrupted by the open switch 25n to ensure that nofill-in takes place between any tones produced by depression of keys ofthe solo manual.

The purpose for disposing the first switch in each pair two half tonesbelow the actual note played in the right hand is to avoid thepossibility of dissonance as a consequence of two notes spaced only ahalf tone apart being played simultaneously. For example, if C# shouldbe played as the melody note and the normally readied note C" heardsimultaneously therewith, there would be a sharp dissonance whereas thesame dissonance would not be evident if the spacing were at least anoctave plus a half note lower.

It will be appreciated that the particular range or given portion of thebus line selected may be extended by changing the number of pairs ofswitches disposed between the ganging portion as indicated by theganging connections 39. In the particular example set forth, theselected portion of the bus line corresponds to an octave or twelve halftones. This could be extended to eighteen half tones in which eventoperation of the switch 2511 would result in operation of thecorresponding second switch 7 which is further spaced by six half notes.

By means of the various switching structures as shown, the playing ofonly a single key in the right hand corresponding to a solo melody notewill result in the rendition of a full solo-manual controlled chord, thesame as though the complete chord had been played with the right hand,an accomplaniment chord then being keyed. This chording will changeautomatically with changes in the chord played by the left hand so thatthe accompaniment added to the single melody note played by the righthand is completely automatic.

While, for the sake of illustration, mechanical type switching has beenshown, it will be understood, of course, that electronic switches couldbe substituted therefor such as efiected by transistors, diodes, andequivalent switching devices.

What is claimed is:

1. In a keyed musical instrument including a series of tone signalsources and an output means, each of said signal sources including acoupling circuit for coupling the tone signal source to the outputmeans, the combination comprising:

(a) first means, responsive to the depression of given tone-producingkeys, for partially completing the coupling circuits of a predeterminednumber of harmonically related signal sources; and

(b) second means, responsive to the depression of a further singletone-producing key, for completing the partially completed couplingcircuits, thereby coupling said predetermined number of signal sourcessimultaneously therewith to said output means.

2. In a musical instrument including a series of'tone signal sources anoutput means, each of said signal sources including a coupling circuit,and, left and right-hand key manuals for controlling the application oftone signals from said sources to said output means by means of thecoupling circuits, the combination comprising:

(a) first means, responsive to the depression of toneproducing keys insaid left-hand manual, for partially completing the coupling circuits ofa predetermined number of harmonically related signal sources; and

(b) second means responsive to the depression of a further singletone-producing key in said right-hand manual, for completing thepartially completed coupling circuits, thereby coupling saidpredetermined number of signal sources simultaneously therewith to saidoutput means.

3. In a musical instrument including a series of tone signal sources anoutput means, each of said signal sources including a coupling circuit,and, left and right-hand key manuals for controlling the application oftone signals from said sources to said output means by means of thecoupling circuits, the combination comprising:

(a) first means, responsive to the depression of tone- 5 producing keysin said left-hand manual, for partially completing the coupling circuitsof a predetermined number of harmonically related signal sources;

(b) second means responsive to the depression of a further singletone-producing key in said right-hand manual, for completing thepartially completed coupling circuits by partially completing a group,less than all, of musically adjacent coupling circuits which includessaid first-mentioned partially completed coupling circuits, there-bycoupling said predetermined number of signal sources simultaneouslytherewith to said output means.

4. A musical instrument according to claim 3, in which the uppermostpitch of the ton-e signal sources having said group of musicallyadjacent coupling circuits is at least two half tones lower than thepitch of said tone signal source which has said single tone-producingkey in said right-hand manual.

5. A musical instrument according to claim 3, in which the pitches ofthe tone signal sources having said group of musically adjacent couplingcircuits comprise at least the major portion of one octave.

6. A musical instrument according to claim 3, in which the pitches ofthe tone signal sources having said group of musically adjacent couplingcircuits comprise one octave.

7. In a musical instrument including a series of tone signal sources,left and right-hand manuals having keys corresponding to said signalsources, and an output means, the combination comprising:

(a) first switch means respectively responsive to said keys of saidmanuals and operative to connect one of said tone signal sources to saidoutput means when the corresponding key is depressed;

(b) a bus line;

(0) second switch means, responsive to actuation of said first switchmeans in said left-hand manual, for each connecting at least oneoctavely related one of said tone signal sources to said bus line; and

(d) third switch means responsive to depressing of a single key in saidright-hand manual for isolating a given portion of said bus line andconnecting such portion to said output means so that said tone signalsources connected to said given portion are coupled to said output meanswhen said single key is depressed.

8. In a musical instrument including a series of tone signal sources,left and right-hand manuals having keys corresponding to said signalsources, and an output means, 55 the combination comprising:

(a) first switch means respectively responsive to said keys of saidmanuals and operative to connect one of said tone signal sources to saidoutput means when the corresponding key is depressed;

(b) a bus line comprising a plurality of series connected pairs ofswitches, the first switch in each pair being a single-pole single-throwswitch, and the second switch in each pair being a single-poledoublethrow switch;

(c) second switch means, responsive to actuation of said first switchmeans in said left-hand manual, for each connecting at least oneoctavely related one of said tone signal sources to said bus line at apoint between said first and second switches in each pair;

and

(d) each first switch in each pair being ganged to operatesimultaneously with said second switch of another of said pairs ofswitches positioned a plurality of said pairs therefrom and associatedwith a lower pitch tone signal generator, said first and second gangedswitches being responsive to depression of a single key in saidright-hand manual for isolating a given portion of said bus line, andsaid second ganged switch being operative to connect such given portionto said output means, said first switch means of said single key beingconnected to a tone signal source having a pitch at least two half toneshigher than that of the tone signal source connected to said firstswitch in each of said pairs.

9. A musical instrument as claimed in claim 8 in which said givenportion of said bus line includes at least nine sucessive pairs of saidswitches.

10. An electrical musical instrument comprising in combination:

(a) a series of tone signal sources having frequencies comprising achromatic musical scale;

(b) a translating system for converting tone signals into audible tones;

(c) a series of solo keys and a series of accompaniment keys, eachmechanically operative to couple one of said tone signal sourceselectrically to said translating system; and

(d) fill-in means responsive to simultaneous depression of any one ofsaid solo keys and a number of said accompaniment keys, and operative toelectrically couple a number of said tone signal sources in the octavebelow said one solo key to said translating system, said number of tonesignal sources being those which are productive of tones harmonicallyrelated to tones produced by said number of accompaniment keys.

11. An electrical musical instrument comprising in combination:

(a) a series of tone signal sources having frequencies comprising achromatic musical scale;

(b) a translating system for converting tone signals into audible tones;

(c) a series of solo keys and a eries of accompaniment keys, eachmechanical operative to couple one of said tone signal sourceselectrically to said translating .system; and

(d) chord fill-in means responsive to simultaneous depression of any oneof said solo keys and a chordproducing number of said accompanimentkeys, and operative to electrically couple a group of said tone signalsources in the octave below said one solo key to said translatingsystem, said group of tone signal sources being productive of tonesharmonically related to tones produced by said chord-producing number ofaccompaniment keys.

12. Automatic fill-in means for a musical instrument having a series ofjointly audible chromatic tone signal sources, an output means, each ofsaid signal sources including a coupling circuit, and solo keys andaccompaniment keys for controlling the application of tone signals fromsaid sources to said output means by means of the coupling circuits,comprising:

(a) means responsive to depression of a solo key for partiallycompleting the coupling circuits of a consecutive series of the tonesignal sources located musically in the octave below such solo key; and

(b) means responsive to depression of accompaniment keys for completingthe partially completed coupling circuits of those of such partiallycompleted coupling circuits of said series of tone signal sources as areharmonically related to the depressed accompaniment keys.

13. An electrical musical instrument comprising in combination:

(a) a series of tone signal sources having frequencies comprising achromatic musical scale;

(b) a translating system for converting tone signals into audible tones;

(c) a series of solo keys and a series of accompaniment keys;

(d) a plurality of switches for each of said keys, and

simultaneously actuatable by the associated key;

(e) a series of circuits respectively operative to couple .said tonesignal sources to said translating system by means of one of saidplurality of switches, for producing an audible tone in response todepression of the associated key; and

(f) further circuitry interconnecting the other of said plurality ofswitches, and operative to couple another of said tone signal sources tosaid translating system in a manner that simultaneous depression of bothone solo and one accompaniment key will efiect production of a tonesignal in the octave below said one solo key and harmonically related tothe tone signal produced by depression of the accompaniment key.

14. An electrical musical instrument comprising in combination:

(a) a series of tone signal sources having frequencies comprising achromatic musical scale;

(b) a translating system for converting tone signals into audible tones;

(c) a series of solo keys and a series of accompaniment keys;

((1) a plurality of switches for each of saidkeys, and simultaneouslyactuatable by the associated key;

(e) a series of circuits respectively operative to couple said tonesignal sources to said translating system by means of one of saidplurality of switches, for producing an audible tone in response toactuation of the associated key;

(f) further circuitry connecting in electrical series the other of saidplurality of switches of the accompaniment keys with the other of saidplurality of switches of the solo keys;

(g) circuit means coupling said further circuitry to said signal sourcestor elfecting operative coupling thereof to said translating system; and

(h) means by which a series of solo keys are individually adapted toclose a series of said other switches in the octave immediately beloweach such solo key.

15. Automatic fill-in means for a musical instrument having a series ofjointly audible chnomatic tone signal sources, an output means, each ofsaid signal sources including a coupling circuit, and solo keys andaccompaniment keys for controlling the application of tone signals fromsaid sources to said output means by means of the coupling circuitscomprising:

(a) a series of switches respectively associated with each of said keysand actuatable thereby;

(b) circuitry interconnecting the individual solo-key switches inelectrical series with individaul accompaniment switches, and comprisinga part of the coupling circuits; and

(0) means actuated by each of said solo keys by which there is isolateda closed series of said solokey switches in the octave immediately beloweach said solo key;

whereby the simultaneous depression of both a solo key and anaccompaniment key will automatically produce an added tone, harmonicallyrelated to the tone produced by the depression of the accompaniment key,in the octave below the tone produced by the depression of the solo key.

16. Automatic fill-in means for a musical instrument having a series ofjointly audible chromatic tone signal sources, an output means, each ofsaid signal sources including a coupling circuit, and solo key andaccompaniment keys for controlling the application of tone signals fromsaid sources to said output means by means of the coupling circuitscomprising:

(a) means responsive to depression of a plurality of spaced solo keysfor partially completing the coupling circuits of a consecutive seriesof the tone signal 9 10 sources .all located musically below the lowerof References Cited by the Examiner such depressed S OlO keys; andUNITED (b) means responsive to depression of accompaniment 1 2,687,6658/1954 Hanert 841.1 keys for completlng hose of said partra 1y com3,040,612 6/1962 Dorf 84 101 X pleted coupling circuits of said seriesof tone 5 signal sources which are harmonically related to the DAVIDGALVIN, Primary Examiner depressed accompaniment keys;

whereby fill-in is provided only below the lowermost ARTHUR GAUSSExamine"- depressed solo key. E. DREYFUS, Assistant Examiner.

1. IN A KEYED MUSICAL INSTRUMENT INCLUDING A SERIES OF TONE SIGNAL SOURCES AND AN OUTPUT MEANS, EACH OF SAID SIGNAL SOURCES INCLUDING A COUPLING CIRCUIT FOR COUPLING THE TONE SIGNAL SOURCE TO THE OUTPUT MEANS, THE COMBINATION COMPRISING: (A) FIRST MEANS, RESPONSIVE TO THE DEPRESSION OF GIVEN TONE-PRODUCING KEYS, FOR PARTIALLY COMPLETING THE COUPLING CIRCUITS OF A PREDETERMINED NUMBER OF HARMONICALLY RELATED SIGNAL SOURCES; AND (B) SECOND MEANS RESPONSIVE TO THE DEPRESSION OF A FURTHER SINGLE TONE-PRODUCING KEY, FOR COMPLETING THE PARTIALLY COMPLETED COUPLING CIRCUITS, THEREBY COUPLING SAID PREDETERMINED NUMBER OF SIGNAL SOURCES SIMULTANEOUSLY THEREWITH TO SAID OUTPUT MEANS. 